Sant’Elia, Antonio( 1888 – 1916 )
Study for a power station, 1913 , Musei Civici di Como, 21 28 cm, Ink on paperAntonio Sant’Elia was born in Como, Italy, 1888. He studied at the G. Castellini Arts and Crafts
Institute, specializing in public works construction. After receiving his Master Builder Diploma in
1906 , he joined the technical staff that was completing the Villoresi Canal. In 1913 Sant’Elia opened
his own architectural practice in Milan, and he collaborated with the painter Dudreville on the
national competition for the new headquarters of the Cassa di Risparmio, Piazza delle Erbe, in Verona.
Sant’Elia joined the Volunteer Cyclists in World War I and died during the eighth battle of Isonzo in
October 1916.
Although Sant’Elia’s early influence was Art Nouveau, he was certainly aware of Frank Lloyd
Wright, and much of his early work indicates that he looked to Otto Wagner and the Secessionists
for inspiration (Caramel and Longatti, 1987 ). Sant’Elia was grounded in his knowledge of industrial-
ization and changes in the contemporary city (Caramel and Longatti, 1987 ). He produced a series of
drawings of his vision of the future city (the Città Nuova) and, with the Nuove Tendenzegroup, he
exhibited these drawings along with his first version of the Manifesto of Futurist Architecture. As a result
of this exhibition, he met members of the futurist movement, who embraced his vision; and his work
thereafter became associated with this movement.
Sant’Elia’s concern for a new city that embraced technology is evident in both the subjects and
techniques of his sketches. Many of them are not connected to commissioned projects, but are
explorations of the monumental qualities of the power of technology, with subjects such as railway
and power stations. This sketch (Figure 6. 1 ), dated 1913 , shows just such a monumentally scaled
building, given the title of power station. What makes this building seem so powerful is its lack of
context. Its stark, dramatic view speaks of the building’s function, not the human experience.
The straight, possibly ruled lines were reinforced through repetition, with lines drawn on top of
each other. The overall effect accents the nervous vibrations of electricity which flows through the
building. Another technique which adds to its monumental quality is the sharp angles of the perspec-
tive view. In most of Sant’Elia’s sketches, he uses perspective instead of plans or elevations; he needed
to envision the building as a whole impression and was not concerned with the nature of the interior
spaces. He was representing the compelling expression of movement and ‘swiftness’ of the structure –
terms he referred to in his Manifesto. He uses two-point perspective, with the points very close to each
other, to increase the height of the building. He also employed a low horizon line to contribute to this
impression.
The items that represent the power of electricity – the turbines – are prominently placed to the
front of this station. They allow the building to speak about its function, proving that the architecture
of the future has a role in creating a new society. The sketch lacks building details such as windows,
doors, or material qualities, giving it a streamlined, machine-like feel. This ‘machine aesthetic’ was
also mentioned in the tenets of the Manifesto: ‘[w]e have got to invent and remake the futurist city simi-
lar to an immense, tumultuous, agile, mobile building site, dynamic in every part, and the futurist
building similar to a gigantic machine’ (Caramel and Longatti, 1987 , p. 302 ).
Sant’Elia likely had full knowledge that many of his designs would not be built. This is reflected in
his connection with the expressionist movement of the period and the ‘paper’ architecture resulting
from both the ideology of impending modernism or the general economic depression of the times that
prevented much building.H5719-Ch06.qxd 7/18/05 10:20 AM Page 145